Dismemberment Plan: The Washington, D.C.,  band broke up in 2003, but has reunited to mark the vinyl reissue of its 2000 classic, “Emergency & I.” The album still sounds outside the boundaries of typical “emo” or “indie-rock” of the era with its bold mix and match of styles and influences, from dub reggae to lounge jazz. The quartet’s sole Midwest appearance is 9 p.m. Saturday and 7 p.m. Sunday at Metro, 3730 N. Clark St., $21 (sold out); etix.com.

Motorhead: Read Lemmy profile HERE. 7 p.m. Saturday at Congress Theater, 2135 N. Milwaukee, $25, $40, $80; congressticketing.com.

greg@gregkot.com

  Ian “Lemmy” Kilmister wants to make one thing clear when reached between tour dates a few days ago: He does not want to talk about drugs.

    “I don’t talk about drugs in interviews because I don’t want to advertise them,” he says. “And I don’t want to see anything in your article that looks like I’m advertising them either – and I read them all.”

    Yes, sir, Mr. Kilmister, consider yourself properly heard and me properly warned. We’re happy to talk about the stuff that really excites us, anyway, namely the music.

    Over 35 years as the founding member of Motorhead, the bass-wielding Lemmy has turned from demon-eyed outlaw to ageless, well-read outlaw, a rock ‘n’ roll icon who legendarily has operated outside the boundaries of the mainstream with a series of iron-fisted, sentiment-free albums. It’s a life traced admirably in a new documentary DVD, “Lemmy” (lemmymovie.com), which surveys it all: leaving home to become a roadie for Jimi Hendrix and pursue rock ‘n’ roll until it succumbed to his will, his passion for history books and war memorabilia, the pioneering music, his tumultuous relationship with his son Paul, and his frequent dalliances with the word that shall not be spoken.

3 stars (out of 4)

“Go ahead, put the blame on me,” Ian “Lemmy” Kilmister sings at the outset of Motorhead’s 20th album, "The World is Yours" (UDR), as succinct a summation as any of a life lived large and frequently outside the margins of mainstream acceptability. With Hawkwind and later Motorhead, Lemmy defined punk attitude long before Johnny Rotten did. His music was infamously loud and violent, an influence on everyone from early Metallica to the Foo Fighters, and “The World is Yours” remains unrepentant: 10 succinct fists to the face, with Lemmy’s fuzz-tone bass and gravel-gargling voice (positively Medieval-sounding on “Brotherhood of Man”) riding alongside Mikkey Dee’s relentless drumming and guitarist Phil Campbell’s rude riffs. No ballads, sentimentality or remorse could possibly survive in this toxic atmosphere.

Lemmy’s obsessions remain intact – there are songs about death, outlaws, war and the saving power of the music that Little Richard and Chuck Berry invented. Much of this will sound familiar to Motorhead fans, but there are enough sly lyrical twists to keep things fresh, and when all else fails, Motorhead’s rhythm section is still beastly. As with the better Motorhead albums from the last two decades, a handful of songs should survive as candidates for future concert set lists. Among them are “Get Back in Line,” in which Lemmy declares his inalienable right not to be a lemming, and “I Know How to Die,” bravado incarnate.

greg@gregkot.com